With Sadness

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It is with sadness we announce the passing of Scott MacClelland, editor of Performing Arts Monterey Bay. It has been our pleasure to bring to you the best that the area has to offer over the years and even a greater pleasure to interact with performers and fans alike.

While we will no longer be publishing new content, it is our sincere hope you will continue to seek out the artists in our community who contribute their gifts and enrich our lives. Now, more than ever, this is how we create and affirm our connection to others.

We would like to thank our many contributors – dear friends without whom this venture would not have been what it was. We wish you all a fond farewell.

To our subscribers and those who stopped by on occasion, we appreciate every visit. You are the reason we did what we did.

A standing ovation to all!
Rebecca Brooks
Associate Editor

Cyrano

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By Philip Pearce

IT’S INTERESTING the way that PacRep’s current season takes two central heroes of early 20th century European drama, Peter Pan and Cyrano de Bergerac, and gives them each a new look. Plus the frank theatricality of a handful of actors playing a whole lot of the characters involved in the stories of their lives.

In the June/July production of Peter and the Starcatcher twelve actors played more than 30 roles in a swashbuckling prequel to the August/July musical version of Peter Pan.

Now there’s an exciting new version of Cyrano, which tells the well-loved tale but pares nearly 50 speaking roles down to 27 to be played by a cast of nine.

When you think about it, Peter and Cyrano are cut from the same mold. Both are chock full of swaggering self-confidence, both are supernaturally brilliant swordsmen, both are sworn enemies of the social status quo. “I want,” Cyrano explains at one point, “to reduce the number of bows I have to make in a day.” Peter doesn’t want to grow up and have to make that kind of decision in the first place.

Like many another theater addict of my generation, I’ve always loved Rostand’s three hour, five-act marathon of moonlit romance, spontaneous poetry and dashing swordplay. But Michael Hollinger’s slick new translation and the fresh two-act adaptation of the text he shares with Aaron Posner make for a fast-paced and thoroughly satisfying evening in the Outdoor Forest Theater.

In a recent interview, Hollinger notes that the original script’s world of 17th century Paris isn’t exactly familiar territory to 21st century audiences. “It was important to me that the play speak to us, here and now, and therefore I made myself the litmus test of what would be accessible, immediate, funny, poignant, and so on.”

So there’s little left of Rostand’s blank verse or the sections of social comment on French society of the 1600’s. What comes across vividly is the central ironic dilemma of a man with a face so unsightly he can only use his supreme genius for poetic love talk to push his lady love into the arms of a handsome but tongue-tied rival.

Pacific Rep executive director Stephen Moorer is an active, touching and consistently funny Cyrano. He mines every vein of wit in the new script and catches most of the underlying pathos without ever slipping into the lilting Gielgud/Burton attitude and voice adopted by some Cyranos I’ve seen. His dying attack against social convention and phony officialdom is no reflective elegy, it’s a ruthless sword fight to the death.

This new version makes it easier to explore character motivations and navigate some of the finer points of 17th century French civic and military life by expanding the role of Le Bret. He’s no longer just Cyrano’s trusty military buddy; he’s a wise narrator who steps out of the action and into a spotlight to explain things directly to us ticket holders. It works admirably. Unlike Rostand’s audience but just like Shakespeare’s, we’ve reached a point where we like it when somebody pauses the story and comments on what’s going on. As always, Jeffrey T Heyer is clear and believable in the role.

The remainder of the players are busy and excellent, moving nimbly through two or three roles apiece. Jennifer Le Blanc is a beautiful, passionate Roxane, so swept up in a duet of Cyrano’s poetry and Gascon-cadet Christian de Neuvillette’s good looks that it takes her fourteen years to discover she’s been in love with the soul of one and only the body of the other.

Justin Gordon is an appealing Christian, a fresh military recruit who’s closely in touch with his feelings but clueless in expressing them. I liked his last-minute wide-eyed explosion of terror at having to woo the lovely Roxane, even coached by the eloquent Cyrano.

D Scott McQuiston is a bubbly and comically endearing Ragueneau, a pastry chef and would-be poet, who manages (in the interest of trimming down cast size) to shout protests at his wife for wrapping her pastries in the texts of his verses without her ever actually appearing on stage.

A small and energetic Andrew Mazer is convincingly tipsy as a bibulous cadet named Ligniere.  Lewis Rhames is willowy and comically inept as a plumed Parisian popinjay named De Valvert, one of a string of candidates for the hand of the fair Roxane. More purposeful and pompous is Michael Storm as another suitor, De Guiche, commander of Cyrano and Christian’s Gascon battalion. The versatile and surprising Garland Thompson moves effortlessly through five different roles, most notably in drag as Roxane’s busybody and sweet-toothed duenna and then in Rosary and wimple as the chatty, broom-wielding Sister Marthe.

Kenneth Kelleher’s direction manages, again and again, to make the nine-member cast look and act like a big crowd. My favorite segment of Act 1 is a sequence that doesn’t even happen in the old Rostand version. Cyrano, high and happy at some fond attention from his beloved Roxane, learns that a hundred sword-wielding thugs are planning a midnight ambush at the Porte de Nesle. He vows to bare his sword and carve them up, single handedly, one by one. Rostand’s script simply reports his success after the fact. Kelleher, Moorer and fight director Justin Gordon show it happening in a shadowy ballet of flashing swordplay which proves that perfectly timed farce can be both hilarious and beautiful.

I loved the show, but I had minor problems with the set design. The big outdoor theater stage allows for a lot of depth and width. But is the backstage area so limited that ingredients of Patrick McEvoy’s settings need to be stored in plain view instead of waiting in the wings to be wheeled on when required? The big quarter moon awaited its appearance in the balcony/garden scene from a position way upstage. And an unchanging background of blue-green wooden fretwork units gave a sense of clutter.

That said, it’s a must see, but take plenty of coats and blankets. It continues through October 15th.

 

 

Weekly Magazine

NEW THIS WEEK

DEL SOL STRING QUARTET celebrates the last Hoisan poets and the end of Angel Island Immigration Station. PERSEVERANCE returns with a live stream from MPC Theatre Company, directed by Teddy Eck and featuring previously published and original pieces written and performed by the Cast. Streaming live on Friday, May 21st, 7:30pm. PLAYWRIGHT HOWARD BURNHAM performs his own William Hogarth, Artist of his Age. PIANIST BRIAN GANZ, ‘Romantic and the Revolutionary Spirit,’ for Distinguished Artists. DISNEY TRIBUTE at Monterey Fairgrounds. FUSION VIOLINIST MADS TOLLING at Kuumbwa. FOR DETAILS AND LINKS, CLICK HERE

 CALIFORNIA CENTRAL COAST MUSIC

APPLICATION DEADLINE: MAY 31. Applications are now open for the California Central Coast Orchestra and Jazz Academy (COJAC), a brand new and most unique summer music academy. A partnership between The Monterey Jazz Festival, El Sistema USA/Salinas, and Kuumbwa Jazz/Santa Cruz, COJAC brings the worlds of Classical and Jazz together and offers participants the chance to network, play side-by-side, build leadership skills, and learn from world-class musicians from LA Phil, Israel Philharmonic, SFOpera, Eastman School of Music, Berklee College of Music, Grammy Award Winners, among others. Repertoire: Tico Tico (Abreu), Festive Overture (Shostakovich), Rhapsody in Blue (Gershwin), and more. Full Scholarships available for El Sistema students & alumni! July 11-31. Ages 14-24. Application deadline: May 31. CLICK HERE

ARTS COUNCIL SANTA CRUZ launches The Business of Art, a six-week series of online classes, Thursdays, 5:30pm-7:30pm. Topics include: Artrepreneurship, Social Media Marketing, Business Foundation, Grant Writing Basics, Pricing your Work and Legal Aspects of Art. Register HERE 

PETER GELB’S NEWEST MET OPERA GAMBIT BLOW UP.

WILL HE EVER GET IT RIGHT? Click HERE

PENDERECKI IN MEMORIAM

MAX HOROWITZ’ series of podcasts honoring the late, great Polish composer has added a new edition featuring international conductor and longtime Penderecki advocate Kent Nagano. Click HERE   

SINGING THE BLUES AT MILLS COLLEGE

FUTURE FOR UNIQUE MUSIC PROGRAM is glum. Click HERE   

KENNY STAHL & BOB BURNETT

THEIR COMPLETE concert at St Ignatius Parish, April 29.

THE HYPERTRAGIC NOTCH

WHEN I FIRST LISTENED to this new CD I thought I had stumbled into a Disney fantasyland. The title of this ‘concerto’ and the accompanying notes did nothing to dispel the impression; the music only underscored it. Co-creator Susan Lim wrote, “For over a decade my partner in the operating room has been a robot surgeon. Outside of surgeries, I have noticed the changing landscape of companionship driven by two forces facing us in society today:longevity and loneliness on the one hand and disruptive new technologies on the other.” Lim continued, “This, coupled with a love for music, and a great relationship with composer and orchestrator Manu Martin, led me to imagine a futuristic companionship between Human and Inanimate, between life and non-life, in the post-modern classical work, the Lim Fantasy Companionship for Piano and Orchestra.

The 33-minute piece, in some 21 short movements, is divided into six “acts,” songs by Joi Barua, Ron J Danziger and Matthieu Eymard that range the world in a fantastically colorful orchestration for ALAN, “a plush inanimate baby lion who craves the new science of synthetic DNA.” The CD, with its perfect-bound booklet, features pianist Tedd Joselson, solo-voice Eymard, conductor Arthur Fagen, the London Voices and London Symphony Orchestra, plus a generous smattering of folk instruments, all opulently recorded at London’s Abbey Road Studios. No expense was spared it appears; AI, robotics and synthetics are sprinkled in but not at the expense of a unique, enchanting musical experience. SM     

JEWEL THEATRE COMPANY’S 2021-22

NOTICES TO GO OUT NEXT WEEK, announcing a full season that includes Heisenberg, The Weir, Pump Boys and Dinettes, Remains to be Seen, An Iliad and Deathtrap. Click HERE   

ST ANTHONY’S SERMON TO THE FISHES

On this 110th anniversary of composer Gustav Mahler’s death.

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Scott MacClelland, editor; Rebecca CR Brooks, associate editor